Besides that of the first instalment, the working notes for this instalment are the only ones in which the left side of the page is left blank. Based on the working notes for the remaining instalments, the left side of the page appears to be reserved for memos where Dickens typically lists characters and plot lines that he considered tying in to that particular instalment. He would then go back and write a "yes" or "no" once he decided whether or not to include something from the memo. Why then do the working notes for this instalment contain no memos? This instalment, like the rest, draws back to early instalments and sets things in motion for later instalments, so Dickens had plenty of opportunity to play around with and muse on what would be best to include.

⁠It's possible that Dickens felt there was already a strong link between the narratives of these chapters. The only clue that the working notes for this instalment offer is the inclusion of the triple underlining of "Richard" in two separate places. Dickens seldom uses a triple underline, and this is the only page of working notes in which there are two instances of a triple underline on the right hand side of the page. This suggests that Richard is the narrative link between the chapters of this instalment. It's therefore possible that Dickens felt strongly about this link and didn't feel the need to muse over other potential options.

This line is expanded from Dickens working notes into the last two lines of this chapter (and instalment) to read:

"And into whatsoever atmosphere of secrecy his own shadow may pas, let all concerned in the secrecy beware! For the watchful Mrs Snagsby is there too ⁠— bone of his bone, flesh of his flesh, shadow of his shadow" (416).

This passage, taken literally, serves to show that Mrs. Snagsby has witnessed Mr. Snagsby's interaction with Jo. However, since Dickens decided to move this section after writing his working notes and make it the last lines of this chapter, its role should also be considered to the instalment as a whole. The mention of shadows here connects back to the shadows at the end of the previous chapter, showing that the stories of all these characters are all connected in one way or another. The actions of one cannot escape the shadow of another's action. It also serves as a reminder that there are truly no secrets within the pages of this novel.

In this chapter, Caddy and Prince finally inform their parents of their engagement. Esther plays a central role in propelling their engagement forward. Caddy tells Esther that she has said to Prince:

"'As Esther is decidedly of that opinion ... I am prepared to disclose the truth to Ma whenever you think proper. And I think, Prince,' said I, 'that Esther thinks that I should be in a better, and truer, and more honourable position altogether, if you did the same to your Papa'" (374).

Here it is clear that Caddy uses Esther as a vehicle to voice her desire to Prince that they make their engagement known. Esther accompanies them when they tell their parents, providing moral support, acting as a voice of reason, and barring witness to their strengthened relationship.

Dickens choice to highlight a renewed focus on their engagement in this chapter serves to contrast with the engagement of Richard and Ada being called off in the following chapter.

The way in which Dickens places this note directly after "downward progress" suggests that the "Jarndyce and Jarndyce" case is one of the main reasons for Richard's downward progress. Esther writes,

To all I said, Richard readily assented; riding over the Court and everything else in his easy way, and drawing the brightest pictures of the character he was to settle into—alas, when the grievous suit should loose its hold upon him! We had a long talk, but it always came back to that, in substance.

For all the talk about him settling, Richard feels truly that he will only be able to settle once the Jarndyce and Jarndyce suit has released its hold on him. Since the case is preventing him from moving up, his only option seems to be to progress downward.

In the final text, this moment between Guster and Jo occurs just before the line about letting all be concerned with secrecy beware, and yet it appears after it in the working notes. Dickens must have therefore decided to switch the order of these. It's important to consider then, why might Dickens have originally wanted to end this serial instalment here? What affect might it have had?

When Guster pats Joe on the shoulder, it is

"the first time in his life that any decent hand has been so laid upon him" (416).

Ending on this note would have emphasised the narrative theme of orphans in this instalment, and in the work as a whole, however it would not have tied together with the narrative thread of Richard in the same way that the current ending does, by again alluding to shadows.

This note connects to Mrs. Snagsby's incorrect interpretation of her husbands nervous nature, who has been acting strange, racked with guilt and confusion on his role in helping Bucket and Mr. Tulkinghorn with Jo. Mrs. Snagsby's jealousy is presented in this chapter as such:

"suspicion gets into Cook's Court, Cursitor Street. From suspicion to jealousy, Mrs Snagsby finds the road as natural and short as from Cook's Court to Chancery Lane. And thus, jealousy gets into Cook's Court, Cursitor Street. Once there (and it was always lurking thereabout), it is very active and nimble in Mrs Snagsby's breast—prompting her to nocturnal examinations of Mr Snagsby's pockets; to secret perusals of Mr Snagsby's letters; to private researches in the Day Book and Ledge, till, cash-box, and iron safe; to watching at windows, listenings behind doors, and a general putting of this and that together by the wrong end" (408).

The long list of ways in which Mrs Snagsby has been searching shows that her obsession has led her to seeing things that are not actually there. It's interesting how Dickens compares her route to jealousy with her physical proximity to Chancery Lane, as if it is only natural that suspicion seep in from the courts.

This phrase is repeated throughout the chapter at various points. It seems to be more of a reminder for herself than for anyone else. She believes that she is seeing all, however saying it does not make it so. One such instance is:

"Mrs Snagsby screws a watchful glance on Jo, as he is brought into the little drawing-room by Guster. He looks at Mr Snagsby the moment he comes in. Aha! Why does he look at Mr Snagsby? Mr Snagsby looks at him. Why should he do that, but that Mrs Snagsby sees it all? Why else should that look pass between them, why else should Mr Snagsby be confused, and cough a signal cough behind his hand? It is clear as crystal that Mr Snagsby is that boy's father" (409).

This line and the title of the chapter is therefore ironic because she is not truly seeing all if she is misinterpreting everything. She has incorrectly assumed that Jo must be Mr. Snagsby's son.

The narrative structure of the above passage is interesting in that it is a close third person point of view. The interjection of lines such as "Aha!" serves as a way for Mrs. Snagsby to reaffirm to herself that his is correct when in fact she is not.

It initially seems strange that Dickens would write "that boy" in his working notes when referring to Jo, however when looked at against the final text it becomes apparent that this is a quote from Mrs. Snagsby's point of view. During the third person narrative it is written:

"'and who' quoth Mrs. Snagsby, for the thousand and first time, 'is that boy? Who is that—!' And there Mrs. Snagsby is seized with an inspiration" (408).

It is later revealed that her incorrect conclusion is that,

" It is clear as crystal that Mr. Snagsby is that boy's father" (409).

The change in the quote from the working note to the final version reveals an emphasis in Mrs. Snagsby's resolve that "it is clear as crystal" instead of just that he "must be" Jo's father.

This working note corresponds to the last two paragraphs of this chapter:

"The sun was down, the light had gradually stolen from the roof, and the shadow had crept upward. But, to me, the shadow that pair, one living and one dead, fell heavier on Richard's departure, than the darkness of the darkest night. And through Richard's farewell words I heard it echoed:

'Of all my old associations, of all my old pursuits and hopes, of all the living and the dead world, this one poor soul alone comes natural to me, and I am fit for. There is a tie of many suffering years between us two, and it is the only tie I ever had on earth that Chancery has not broken!'" (405-406).

This section serves a few key purposes. The first is that it foreshadows greatly to Richard's death in the final instalment, with the "shadow of that pair, one living and one dead." Although the texts points to it being the shadow of the pair, Flite and Gridley that is, Dickens working note says that it is "the shadow of Miss Flite is on Richard." The working note therefore lends to the readings that the real shadow is that of Ada on Richard, because of a parallel drawn between the two pairs. Miss Flite and Gridley's friendship arose from their similar circumstance in the court, whereas Ada and Richard were also drawn together by being wards in the Jarndyce and Jarndyce case. However, the events of this instalment have torn them apart for the time being and forced them to end their engagement.

In the previous chapter of this instalment however, Esther draws a clear link between Miss Flite and Richard:

"He had even begun to haunt the court. He told us how he saw Miss Flite there daily; how they talked together, and how he did her little kindnesses; and how, while he laughed at her, he pitied her from his heart. But he never thought—never, my poor, dear, sanguine Richard, capable of so much happiness then, and with such better things before him!—what a fatal link was riveting between his fresh youth and her faded age; between his free hopes and her caged birds, and her hungry garret, and her wandering mind" (369).

Here too Esther is looking back on these events, foreshadowing a "fatal link" and that he was "capable of so much happiness then, and with such better things before him!"

Gridley's Death serves the narrative purpose of representing the effect an obsession with the court's outcomes can have on someone. It ties this instalment to the final instalment when Richard ultimately meets the same end.

Based on the position of his name to the left of the rest of Dickens' working notes on this chapter, Richard seems to be the main focus. The dash next to "Gridley's Death", as well as the fact that this note is indented more to the right, shows that it is a subheading connecting back to Richard.

Dickens again emphasizes "Richard" here in his working notes by triple underlining it, as well as underlining "Engagement off." As noted in an annotation of the other instance of triple underlining of "Richard" in the previous chapter of this instalment, Richard's thread between these two chapters is visually linked. His downward progress with both the Jarndyce and Jarndyce case as well as his decision to join the army in the previous chapter have ultimately been a catalyst, causing Mr. Jarndyce to force Richard and Ada into calling off their engagement. Mr. Jarndyce says to Richard:

'Rick Rick!' cried my guardian, with a sudden terror in his manner, and in an altered voice, and putting up his hands as if he would have stopped his ears, 'for the love of God, don't found a hope or expectation on the family curse! Whatever you do on this side the grave, never give on lingering glance towards the horrible phantom that has haunted us so many years. Better to borrow, better to beg, better to die!" (389)

It is evident that Mr. Jarndyce feels helpless in not being able to keep Richard from falling victim to the Jarndyce and Jarndyce case like so many before him. It is because he sees this "downward progression" in Richard, as Dickens notes in his working notes above, he feels that it is best for Richard and Ada to end their engagement since Richard will be away now that he has chosen to join the army.

It is ultimately his decisions in the previous chapter that have cemented his fate. Esther writes:

"It was strange to me that Richard should not be able to forgive my guardian, for entertaining the very same opinion of him which he himself had expressed of himself in much stronger terms to me. But it was certainly the case. I observed, with great regard, that from this hour he never was as free and open with Mr. Jarndyce as he had been before. He had every reason given him to be son, but he was not; and, solely on his side, and estrangement began to arise between them" (391-392).

Here Esther is looking back on these events while thinking of what will come in the future. The shift in Richard in this instalment will ultimately set the tone for his character the rest of the novel, as he has driven a wedge between himself and Mr. Jarndyce and set himself on a clear path of downward progression.

The second cause that Dickens notes here as a reason for Richard's downward progress is his decision to stop pursuing a career in law and instead join the army. In his explanation to Esther, Richard says:

"'Having worked at Jarndyce and Jarndyce like a galley slave, I have slaked my thirst for the law, and satisfied myself that I shouldn't like it. Besides, I find it unsettles me more and more to be so constantly upon the scene of action. So what,' continued Richard, confident again by this time, 'do I naturally turn my thoughts to?'" (372).

"it's the best thing I can do, my dear Esther, I am certain. It's not as if I wanted a profession for life. These proceedings will come to a termination, and then I am provided for. No, I look upon it as a pursuit which is in its nature more or less unsettled, and therefore suited to my temporary condition—I may say, precisely suited. What is it that I naturally turn my thoughts to?' (372).

'What,' said Richard, in a tone of perfect conviction, 'but the army!' (372).

This section is interesting in that Richard seems to be aware that being so close to the Jarndyce and Jarndyce case is unsettling him, and he continues to be driven by it, basing his future on its outcome. This scene is further ironic in that he desires to be away from action and yet has now set his sights on joining the army. He believes he is progressing, but changing his mind again has ultimately set him further downward.

Richard's "downward progress" seems to be a major focus of the first two chapters in this instalment. The oxymoron here is interesting. Although Richard is moving forward, "progressing" in trying new pursuits, he is ultimately on a downward projection. It seems that the more he tries to move forward, the more he digs himself deeper.

Dickens' triple underlining here serves to emphasise the importance of Richard in this chapter, despite his only being present for a small portion of it. His name is triple underlined the same way in Dickens' note on the next chapter, providing a visual link between the two chapters, especially in looking at the juxtaposition of the blossoming engagement of Caddy and Prince in the first chapter of this instalment and the called off engagement of Richard and Ada in the second chapter.

In ending this chapter on Charley becoming Esther's maid, Dickens connects back to the beginning of the chapter when Esther was unwilling to take on the French maid. As noted in the earlier annotation of Dickens' working note on the "French maid", Esther is more than happy to accept Charley as her maid even though she does not want a maid, simply because it will benefit Charley.

Dickens use of the possessive 's in naming Charley as Esther's maid (both within his working notes and the text itself) emphasises Esther's role in taking on Charley as her maid. It is a form of charity on her part, and yet she sees it as a charity on Mr. Jarndyce's part. Overcome with emotions over his generosity, Esther says in conversation with Charley:

"'O Charley dear, never forget who did all this!'

'No, miss, I never will. Nor Tom won't. Nor yet Emma. It was all you, miss.'

'I have known nothing of it. It was Mr. Jarndyce, Charley.'

'Yes, miss, but it was all done for the love of you, and that you might be my mistress. If you please, miss, I am a little present with his love, and it was all done for the love of you. Me and Tom was to be sure to remember it.'"

Charley's repetition of the word love here and her presence overall serve to represent Mr. Jarndyce's love for Esther. This link between Charley, Esther, and Mr. Jarndyce will tie back in in later instalments when Charley and Esther get sick and Mr. Jarndyce proposes to Esther. Dickens has therefore introduced Charley as a catalyst in their evolving relationship.

Dickens' inclusion of this quote in his working notes highlights both the significance of Mr. Turveydrop's words and Esther's interpretation. It relates back to the theme of charity present throughout the novel. Mr. Turveydrop has framed his offer as charity when he is in fact acting selfishly.

In its final version, Dickens has expanded the quote to read:

"'My children,' said Mr. Turveydrop, paternally encircling Caddy with his left arm as she sat beside him, and putting his right hand gracefully on his hip. 'My son and daughter, your happiness shall be my care. I will watch over you. You shall always live with me;' meaning, of course, I will always live with you; 'this house is henceforth as much yours as mine; consider it your home. May you long live to share it with me!'" (379).

In the final version, Mr. Turveydrop does not just say "my children" but also says "my son and daughter," adding emphasis to the fact that he is accepting Caddy as his own. This is further revealed through the way he paternally puts his arm around her. Although there is a clear emphasis on the fact that he is not just offering a place for them to live, but rather imposing himself on them so that they may wait on him and serve his every need, it is also clear that he has accepted Caddy into his home. He offers a paternal love that she is lacking from her mother.

Although he critiques both parenting styles, Dickens also seems to pose the question, is it better to be absent yet provide freedom or is it better to be present and over-impose?

Here Dickens has underlined Mrs. Jellyby's name, whereas Mr. Turveydrop's name is not underlined. Mrs. Jellyby's response to Caddy and Prince's engagement is therefore perhaps more significant. In contrast with Mr. Turveydrop who has imposed himself on the young couple, Mrs. Jellyby's disinterest reveals she wants no part of it. After Esther and Caddy leave Mrs. Jellyby, Esther writes:

"I was not surprised by Caddy's being in low spirits, when we went down-stairs; or by her sobbing afresh on my neck, or by her saying that she would far rather have been scolded than treated with such indifference" (384).

After spending some more time with Caddy's siblings, Esther then goes on to reflect,

"As I rode quietly home at night after the day's bustle, I thought a good deal of Caddy's engagement, and felt confirmed in my hopes (in spite of the elder Mr. Turveydrop) that she would be the happier and the better for it" (384).

There seems to be a common thread through the three chapters of this section, and really through the entire novel, of orphaned children. Mrs. Jellyby's neglect and all consuming focus on her charity in Africa has left her children practically as orphans. Caddy's engagement therefore offers her the freedom to distance herself from her parents and start a new life, helping herself so that she may then come back and help her father and siblings.

By this dash and the subsequent pen scribbles to the right of it, it appears as though Dickens considered writing a note next to the French Maid's name and then decided against it. This is especially interesting when looked at in relation to how he introduces the French maid into this section of Esther's Narrative. After a brief summary of how she is confused by the way she is drawn to Lady Dedlock, Esther writes,

"One incident that occurred before we quitted Mr. Boythorn's house, I had better mention in this place" (366).

Here Dickens draws attention to the fact that Esther is constructing this narrative and is choosing what to include in it and when. It is clearly an important part of the chapter as a whole, as indicated by the underlining of "French maid" on Dickens working notes. Esther too finds it significant to note, since she "had better mention" it. Yet she concludes by writing:

"So ended our conference, which I was very glad to bring to a close. I suppose she went away from the village, for I saw her no more; and nothing else occurred to disturb our tranquil summer pleasures, until six weeks were out, and we returned home as I began just now by saying" (369).

Here again she has subtly referred to the act of writing her narrative, by noting that she will now return to what she originally began saying before she deemed it necessary to include the part about the French maid. Dickens was going to write something and then decided against it; whereas Esther needed to write this.

Here Dickens has underlined "French maid" and included it as his first note on this section, both of which lend the inclusion of the French maid to be a significant part of the chapter. After the French maid offers to be Esther's maid, Esther says,

"'I assure you,' said I, quite embarrassed by the mere idea of having such an attendant, 'that I keep no maid—'" (368).

Esther is clearly unwilling to accept the French maid's proposal, noting again later on "how very little [she] desired to do so" (368). She does not see a need for having a maid, and yet at the end of the chapter she is delighted to accept Charley as her maid. Dickens therefore places the two maids in stark contrast with one another. The defining difference being that Esther feels that taking Charley on is really for Charley's benefit and not her own. While the French maid also made it clear that she would be exceptionally happy if Esther would take her, her principal role would still be to serve Esther. It is an act of charity to bring in Charley, and therefore a way for Esther to serve Charley. To offer her mentorship and a safe and loving home.